The Belko Experiment – Film Review

An ordinary day at the office becomes a horrific quest for survival when eighty employees at the Belko Corp. in Bogotá, Colombia, learn that they are pawns in a deadly game. Trapped inside their building, a voice over an intercom tells the frightened staffers that two workers must be killed within thirty minutes. When another ultimatum follows, friends become enemies and new alliances take shape, as only the strongest will remain alive at the end.

The Belko Experiment, directed by Greg McLean, is a thrilling and thought-provoking film that takes audiences on a gruesome journey into the darkest corners of human nature. Set in a seemingly ordinary office building, the movie explores the disturbing premise of a social experiment gone horribly wrong. While it offers an intriguing concept and some intense moments, the film falls short in delivering a fully satisfying experience due to its predictable plot and underdeveloped characters.

From the opening scenes, The Belko Experiment establishes a tense atmosphere, introducing viewers to the ordinary employees of the Belko Corporation. The film quickly takes a sinister turn when the building is suddenly locked down, and a voice over the intercom instructs the employees to kill each other to ensure their survival. This premise immediately hooks the audience, as we are left wondering who will succumb to the pressure and who will try to resist.

One of the film’s strengths lies in its ability to create a claustrophobic and oppressive setting within the office building. The cinematography effectively captures the sense of confinement, utilizing tight shots and dim lighting to enhance the feeling of being trapped. This visual style contributes to the overall tension and unease throughout the movie.

The performances in The Belko Experiment are solid, with standout performances from John Gallagher Jr. as Mike, the film’s reluctant protagonist, and Tony Goldwyn as Barry, the morally ambiguous COO of Belko Corporation. Gallagher Jr. brings a sense of vulnerability and desperation to his role, making it easy for the audience to empathize with him. Goldwyn, on the other hand, exudes a certain charisma and ambiguity that keeps viewers guessing about his true intentions.

While the film excels in creating suspense, it unfortunately falters in its storytelling. The plot of The Belko Experiment is rather predictable, following a familiar formula of survival horror films. As the employees are forced to make difficult choices and turn against each other, the narrative unfolds in a predictable manner, with few surprises along the way. This lack of originality hinders the film’s ability to fully engage the audience.

The characters in The Belko Experiment are also quite thinly developed, lacking depth and complexity. With such an interesting premise, it’s disappointing that the film fails to explore the moral dilemmas and psychological impact of the employees’ actions in a more profound way. While some characters receive a bit more attention and backstory, the majority of the cast is reduced to mere cannon fodder, making it difficult for the audience to connect with them on a deeper level.

Despite its flaws, The Belko Experiment does offer some interesting social commentary. The film raises questions about human nature, the loss of morality under extreme circumstances, and the dehumanization that can occur within corporate structures. It’s a dark reflection on the ruthless nature of our society and the potential for ordinary people to turn into monsters when pushed to their limits.

In terms of its technical aspects, the film benefits from a well-executed sound design that enhances the suspenseful atmosphere. The score by Tyler Bates effectively adds tension and unease to the scenes, while the editing and pacing maintain a consistent rhythm throughout.

The Belko Experiment is a mixed bag. While it succeeds in creating a tense and unsettling atmosphere and features strong performances, it falls short in terms of its predictable plot and underdeveloped characters.